Tag Archives: Colin Alexander

July 2018 – upcoming London classical gigs – Jennifer Ames Alexander and Colin Alexander play new music by Eva-Maria Houben, James Luff, Alex Nikiporenko, Amanda Feery and Garrett Sholdice for viola and cello (7th July); the London Symphony Orchestra present new works by Robin Haigh, Lillie Harris, Yvonne Eccles and Nick Morrish Rarity at Soundhub Showcase Phase I (14th July)

30 Jun

Two more quick boosts for imminent concerts…

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London-based concert series 840 specialises in new experimental and minimal music. Here’s what they’re offering this month:

'840: New Music for Violin & Cello', 7th July 2018 “840 presents an evening of new music for viola and cello, performed by Jennifer Ames Alexander and Colin Alexander (Tre Voci). Showcasing the versatility of this duet format, the programme will feature intimate, resonant pieces from Eva-Maria Houben (Wandelweiser) and Marc Sabat alongside brand-new works from Colin Alexander and from 840 curators James Luff and Alex Nikiporenko.

“We are also excited to be featuring work by two wonderful Irish composers, with a piece from Amanda Feery in which disjointed fragments replace seamless transitions, and a newly-composed work from Garrett Sholdice, known for writing music of “exquisite delicacy” (‘The Irish Times’).”

840 presents:
840: New Music for Viola & Cello
St James’ Church Islington, Prebend Street, Islington, London, N1 8PF, England
Saturday 7th July 2018, 7.30pm
-information here, here and here

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And a week later, there’s this…

LSO Soundhub Showcase: Phase I, 14th July 2018

London Symphony Orchestra‘s Discovery’s Soundhub programme presents new music by first year composers, performed by LSO musicians and guests.

“Join us to hear ‘Twenty One Minute Pieces’, Robin Haigh’s survey of nine hundred years of musical language and instrumentation alongside Lillie Harris’ ‘My Last Duchess’ an interactive insight into coercion and control in a Gothic-Romantic monologue. Then take the fragile journey from sorrow to hope through music and dance with Yvonne Eccles’ ‘Towards hope’ before Nick Morrish Rarity explores ghostly sounds etched into the brittle grooves of shellac records in ‘the traces left behind’.”

Here’s the opening section of ‘My Last Duchess’:

 
The evening’s ensemble includes Early Music recorder specialist Tabea Debus, flute and piccolo player Stuart McIlwham, flautist/bass flautist Carla Rees (who’s appeared plenty of times in here with her ), clarinettist Heather Roche, percussionist Paul Stoneman and viola player Anna Bastow. Broadening the sonic perspective, violinist Julian Gil Rodriguez and cellist Jennifer Brown will both also be playing Stroh versions of their respective instruments, and acoustician Aleksander Kolkowski will be playing a phonograph and an assortment of antique shellac discs for the Rarity piece. (Presumably, that’ll be Rarity played using rarities. Don’t all of you laugh at once, now.)

A quick note – this is one of the few times I’ve heard of Stroh string instruments being used in classical concerts, although a century ago they’d have been quite common. Late Victorian devices, they’re trimmed-down solid-body versions of acoustic instruments (mostly from the orchestral string section, but also sometimes guitars and lutes) with their sounds amplified by built-in metal resonators and horns, like early phonograms. Designed to replace traditional string instruments which might be drowned out in noisy environments, they were used in early recording studios before being killed off by amplification technology and better microphones.

These days the ones which aren’t in museums or the backs of cupboards are mostly used to lend antique sonic retrofitting to experimental rock and pop songs. My guess is that for this concert they’re being used alongside the shellac to add compression and metal plating to the Rarity piece…

London Symphony Orchestra presents:
LSO Soundhub Showcase: Phase I
LSO St Lukes, 161 Old Street, St Lukes, London, EC1V 9NG, England
Saturday 14th July 2018, 7.00pm
– information here, here and here
 

May 2018 – upcoming London classical/experimental gigs – Hen Ogledd’s freak-folk roar plus performances of Conlon Nancarrow, Alice Jeffries and original work by Naomi Sato, Lore Lixenberg and Serge Vuille at Kammer Klang (1st May); Tre Voci & Kit Downes EP launch (15th May)

21 Apr

Kammer Klang, 1st May 2018Kammer Klang presents:
Hen Ogledd + Lore Lixenberg + Naomi Sato + Serge Vuille
Café Oto, 18-22 Ashwin Street, Dalston, London, E8 3DL, England
Tuesday 1st May 2018, 7,30pm
– information here, here and here

Headlining this coming month’s Kammer Klang is the shifting noise-folk improv collective Hen Ogledd: named after the ancient Celtic kingdoms of northern Britain and centring on improvising harpist Rhodri Davies and the distorted bass and acoustic guitar of Richard Dawson (once described as “a one-man Captain Beefheart and His Magic Band“).

Richard and Rhodri initially used the name for a 2013 duo album before expanding it to a larger project. Writer-musician Dawn Bothwell (a sometime video-art-curator who also plays “altered electronic torch songs” as Pentecostal Party and drum machine experiments as half of Blep) joined as an equal partner in 2016, her vocals and electronic instrumentation (synths, loops, delay pedals, telephone) simultaneously pulling the project deeper into freak-noise and adding forthright song structures. On this occasion, Rhodri, Richard and Dawn will be accompanied by a fourth member – frequent Dawson collaborator Sally Pilkington – on keyboard, synth and voice; further thickening a startling brew of sound which seems to excavate, parasitize and transform ancient folk music with a roaring dirty-electric experimentalism.


 
The rest of the bill is solo sets of various kinds.

Outstanding avant-garde mezzo-soprano Lore Lixenberg will be flying in from her Berlin base to perform her own multi-tracked vocal version of Conlon Nancarrow‘s ‘Study for Player Piano No. 31’ (one voice live, the rest on tape). Nancarrow specialised in piano pieces with a forest of ecstatic multiple parts: impossible for one human to generate on a single standard piano with only ten fingers, but more readily performable via the automatic pedal-pumped player piano (whose system of playing programmed music from punched paper rolls like a computer or music box proved prime for hijacking).

Lore’s apparent aim is to demechanise the music – respecting its original method but bringing it closer to human performance. Though she’s jokingly dubbed this “Nankaraoke”, in a recent interview with NMC Records she also revealed “the idea is to keep the consistency of timbre of the player piano but with the liveness that Nancarrow couldn’t find in his lifetime. I was talking to David Alberman about the first time Nancarrow heard his music played in ensemble; apparently he nearly cried, having been told his whole life that his music was unplayable…”

 
Saxophonist and reedist Naomi Sato (of Duo X Project, Karooshi Vlinder Vangers and assorted orchestras) will be performing an unspecified solo set on shō (the Japanese 17-pipe bamboo mouth organ). To complete the evening, the Fresh Klang event of new and rare music will be performed by percussionist Serge Vuille – premiering a new work by emerging young British composer Alice Jeffreys, whose music “explor(es) emergent temporal paradoxes in listening”.


 
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I always seem to be doubling up news of Kammer Klang and Nonclassical events, and this time’s no exception. In mid-May, Nonclassical are putting on another Tre Voci gig as the cello ensemble launch their new ‘Auro’ EP with regular collaborator, jazz pianist and organist Kit Downes. (This follows up their previous shared concert) back in February.)

A quick burst of press release for the unfamiliar:

“Formed in 2012, Tre Voci is comprised of Norwegian cellist Torun Sæter Stavseng and British cellists/composers Gregor Riddell and Colin Alexander. Their repertoire ranges from medieval and renaissance vocal music to new commissions and their own compositions. The trio is also focused on structured improvisation, performing with live processed electronics as well as explorations of Scandinavian folk music.

“Kit Downes is a BBC Jazz Award winning, Mercury Music Award nominated, solo recording artist for ECM Records. He has toured the world with artists such as Squarepusher, Thomas Strønen, Aidan O’Rourke and Django Bates and written commissions for Cheltenham Music Festival, London Contemporary Orchestra, Stavanger Konserthus, Cologne Philharmonie, BBC Radio 3 and the Wellcome Trust.”




 
As is usual with Tre Voci concerts, there will be a mixture of site-specific improvisations plus written pieces, including original works by all performers. Presumably the setlist includes Kit’s Tre Voci ‘Auro’ commission ‘The Cult of John Frum’ plus the fifteenth century Josquin des Prez and Johannes Ockeghem pieces which also appear on the EP.

Nonclassical presents:
Tre Voci & Kit Downes
The Old Church, Stoke Newington Church Street, Stoke Newington, London, N16 9ES, England
Tuesday 15th May 2018, 8:00pm
– information here, here and here

Tre Voci + Kit Downes, 15th May 2018

 

December 2017 – upcoming London classical etc. gigs – Tre Voci’s spacework (3rd); Keith Burstein’s chamber music (11th)

26 Nov


 
As a matter of course, London-based Anglo-Norwegian cello trio Tre Voci (consisting of Torun Saeter Stavseng, Gregor Riddell and Colin Alexander) sit on a triple cusp. Their work focusses on Early music, contemporary compositions (they’ve premiered work by composers including Mica Levi, Alex Nikiporenko, Bryn Harrison, Kit Downes, Peter Wiegold, Edwin Hillier and Sergei Zagny) and improvisations. Much of this early December concert (played twice in a single day, under the aegis of the Nonclassical organization) sees them explore the third of these directions, creating “meditative” new surround-sound music in combination with outstanding Iranian hand-drummer Mohammad Reza Mortazavi. Laid out in the ICA’s performance space, it will be part gig, part walk-through three-dimensional installation, with further synaesthesic dimensions added by the live visuals from Norwegian artist Henrik Koppen.

For part of the concert’s second half, the trio will play unspecified new compositions of their own as well as teaming up with Norwegian soprano Silje Aker Johnsen to premier a new work by David Stephen Grant. In a recent interview on the Nonclassical blog, Colin Alexander states that the Grant piece will “cover the listeners in thick, interwoven layers of sound… David writes rich, warm and engulfing electro-acoustic music that will fill the space at ICA with shifting harmonies and blurred timbres. My first experience of his writing was through a duo for violin and cello with electronics that I performed with Mira Benjamin in Oslo and London. Although simple and relatively short it was incredibly effective through its nuanced beauty and delicately judged movement.”

Nonclassical & Tre Voci Cello Ensemble present:
Tre Voci: Orbits
Institute of Contemporary Arts, The Mall, Westminster, London, SW1Y 5AH England, United Kingdom
Sunday 3rd December 2017, 4.00pm & 8.00pm
– information here and here

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Keith Burstein

There was a time when Keith Burstein could barely stay out of trouble. As a conductor and commissioner of New Music, he was a rising pillar of British contemporary classical music during his twenties. However, his discovery of his own composing voice – staunchly tonal, in fervent reaction to the austere high-modernist abstractions of the times – drew him into a series of vicious joustings and spats in the early ‘90s, played out first within the musical community, then in the press, in the concert hall and ultimately in the libel courts. He fought hard. The establishment he’d jilted and criticised fought equally hard. There’s not been much forgiveness on either side.

Ten years later, his opera ‘Manifest Destiny’ (which took a broad-brush metaphysical approach to the War on Terror) was performed in Edinburgh in the wake of the London suicide bombings of 2005. Further spats followed over alleged glorification of terrorism. There was another court case, and a bankruptcy. As before, Keith would argue (and continues to argue) that he was fighting not just for his own right to musical self-expression and political challenges, but for everyone else’s. Subsequent adventures have been quieter (and his rebellions subtler), but even as he approaches his sixtieth year he’s never entirely lost that self-appointed role as vehement high-culture renegade.

With all that said, the ultimate Burstein concerns and preoccupations seem more suited to metaphysical and spiritual realms rather than the political and strategic trappings of the battles he’s fought, and their scale and fervour have tended to overshadow the music: the water-pageant melancholy of ‘Requiem for the Young’, the entanglement of manners and compressed frenzy in his ‘Dance of Love/Dance of Death’ string quartet; the foreboding elegance of his choral Holocaust meditation ‘The Year’s Midnight’ and the lucid romantic panorama of his ‘Elixir’ symphony. When writing to a grander scale, he composes work that in some respects resembles the Whitehall of his beloved London – looming and aspirational; fascinated by the power of architecture and history, yet at the same open to and ownable by passers-by; his structures echoing the antique yet repurposing them to modern ends, and being buffeted and reshaped by contemporary impacts; an meticulous admixture of historicism and retrofitting.

This month’s lunchtime recital, however, provides the opportunity to appreciate his music on a smaller magnitude, at a remove from grander clutter of conflicts and history. Packing various shorter Burstein works for piano, violin and cello into its forty-five minutes, it includes assorted piano preludes and the final movement of Keith’s recent ‘Wiosna’ cello sonata (one of several recent works in which he retraces his family history back through his parents’ work as violinists with the Brighton Philharmonic and Halle Orchestra to their Eastern European roots and Russian/Lithuanian connections). Keith (on piano) is joined by notable solo cellist Corinne Morris – whose ‘Macedonian Sessions’ reached number 2 in the classical charts this year – and by violinist/composer Roland Roberts (Solaris Quartet, City of Oxford Orchestra, Brighton Philharmonic Orchestra and many more). Both Corinne and Roland have worked with Keith before; the former premiering ‘Wiosna’… and the latter co-premiering the piano/violin duet Keith composed this year in honour of his late mother Barbara.

Lunchtime Recital of the Works of Keith Burstein (with Keith Burstein, Corinne Morris, Roland Roberts)
1901 Club, 7 Exton Street, Waterloo, London, SE1 8UE, England
Monday 11th December 2017, 12.00pm
– information here and here


 

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